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Marelux Apollo III/III 2.0 MTL feature

I have been ask several times about what the MTL mode is on the Apollo III/III 2.0 strobes and have attached some real world examples. MTL is the continuous shooting mode up to 10 frames a second using fiber optic cords. The attached five images were taken with the Sony A7R V set to five FPS, at ISO-400, F/9 at 1/160th sec using the Laowa AF 10mm F/2.8 with the Marelux housing, 230mm dome and two Apollo III strobes with fiber cords. The time stamp for all five photos is April 17, 2024 at 12:21:46PM. All five during the 46th second. At 5 FPS you can shoot from power levels #1 to #9. At power levels #10 and #11 it drops to 4 FPS and at #12 the highest setting it goes to 2 FPS.   Using UW Technic flash trigger.  




Phil Rudin

Canon Announces New EOS C400 6K Full-Frame RF Mount Cinema Camera

MELVILLE, N.Y., June 5, 2024 —Canon U.S.A. Inc., a leader in digital imaging solutions, is pleased to announce the new Canon EOS C400 cinema camera, with a native RF-mount and full-frame, back-illuminated stacked CMOS sensor, designed with the film and live production markets in mind.
For the first time in the cinema EOS system, the Canon EOS C400 camera features a newly developed 6K full-frame, back-illuminated CMOS sensor, with triple-base ISO, allowing the camera to deliver stunning imagery in a wide range of lighting conditions. The base ISOs of 800, 3200, and 12,800 maximize the full dynamic range of the camera.
An additional benefit of the EOS C400 camera’s sensor is the support for the next generation of Canon’s Dual Pixel CMOS Autofocus, Dual Pixel AF II. The back-illuminated stacked positioning offers better light-capturing efficiency, which widens the area of the sensor that can be used for autofocusing. The sensor also empowers faster readout speed, as well as better 4K image quality from 6K oversampling.
The EOS C400 camera records in 6K full frame up to 60p in 12-bit Cinema RAW Light. By changing the sensor mode, the camera can record 4K RAW up to 120fps and 2K RAW up to 180fps. This is all recorded in Canon’s latest iteration of Cinema RAW Light, which provides three different recording modes to choose from depending on your file size preference and workflow.
Other recording options include the Canon-developed, industry standard XF-AVC codec which can be recorded in 10-bit 4:2:2 with oversampling from the 6K sensor, helping to create rich detail and smooth imagery, at frame rates up to 120P, without the need for cropping the image from the sensor. Canon is also introducing two new recording codecs into the EOS C400 camera, XF-AVC S and XF-HEVC S. These formats feature an easy-to-manage naming system and folder structure, while recording in the familiar MP4 format and preserving metadata.
All of these options are recorded to the camera’s CFexpress slot with sub-recording and proxy options available to the SD Card slot, which allows for simultaneous recording even when shooting RAW.
 
https://www.usa.canon.com/shop/p/eos-c400
 
 
 
Davide DB

Adobe Lightroom Updates

Adobe have announced upgrades to Lightroom with Classic moving on to v13.3.
 
Improvements to Lens Blur and an AI-supported "Generative Remove" feature seem to be the main changes. Additionally there is a new Filter by Exported Images option as well as upgrades to Sync Performance and Tethered Shooting with a Sony. Adobe's list of changes is below.
 
I loaded the update on to my Mac Studio this afternoon and all seems fine......
 
 
 
 
 

TimG

U38 · May/Jun 2024 Now Available

U38 · May/Jun 2024
https://www.uwpmag.com
 
  Editorial  
Lens nirvana, Hybrid history, Concentration & Blackwater business News, Travel & Events  
Baja Mexico Sardine Run & Diving Cabo Pulmo Bali Workshop With Alex Tattersall Bikini Atoll – Pacific Master  Underwater Portrait Photography Workshop Raja Ampat Underwater Photography Workshop  with Tim Laman and Zafer Kizilkaya New Products 
Nauticam NA-S5II for Panasonic S5II Telesin GoPro Dome Port housing Hands On With Reef: Nauticam NA-Z8 & Nikon Z8 Isotta Z8 housing for Nikon Z8 Insta360 X4 Invisible Dive Case Weefine WFH-TG6 PRO housing Nauticam viewfinders SeaLife ultra-wide angle dome lens Seacam Z8 housing Sea Frogs A7SIII  Salted Line  Kraken KR-S160 Flash SeaLife SportDiver Ultra Housing for Smartphones Ikelite housing for Sony ZV-1 II Boxfish Luna ROV Plankton: A Worldwide Guide Field Guide to Sharks, Rays and Chimaeras of the East Coast of North America Product reviews
Angled relay for Nauticam EMWL by Nicolas Remy Backscatter Hybrid Flash by Jim Decker AOI GoPro lenses by Peter Rowlands  Laowa 10mm lens by Phil Rudin Locations
Philippines by Michel Braunstein Events
Mermaid Championship by Nicholas Kouvaras  Marine life
Photographing Humpbacks by Tanya G. Burnett & Kevin Palmer Techniques
Blackwater photography by David Fleetham  Interview
Andrey Ryanskiy by Colin Marshall Marshall’s Mysteries 15
by Colin Marshall My Shots
by David Fleetham Parting Shot
by Peter Rowlands  
https://www.uwpmag.com
https://www.uwpmag.com

RichN

TAMRON announces development of first CANON RF mount lens

Product Features

Fast-aperture ultra wide-angle zoom lens
Compact and light weight
Outstanding optical performance
MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4
High performance autofocus RXD stepping motor for both still and video use
[1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras
[2] The full-frame equivalent of 17.6-32mm.
 
Tamron Co., Ltd. announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024.
 
TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement.
The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.
 

 
Davide DB

Laowa 10mm F/2.8 AF lens

The TIPA 2024 awards were announced today in the US and among the winners for best camera equipment of the year is Laowa's 10mm F/2.8 rectilinear full frame AF lens. Laowa announced this as an architectural, astro, landscape and portrait lens but it is also a fantastic underwater photography lens with an AOV of 130 degrees. 
Attached are just a few photos from last weeks trip to the North Florida Springs. The 10mm is paired with the Sony A7R V in a Marelux housing with the Marelux 230mm dome port and two Marelux Apollo III strobes. Shot from ISO 400 to 640, most at F/13 and from 1/100th to 1/160th sec.





Phil Rudin

Panasonic Firmware Update for LUMIX S5II and S5IIX

Panasonic Announces Firmware Update to Improve the Shooting Experience and Sharing Functionality of LUMIX S5II and S5IIX.
 
S5II Firmware Version 3.0 / S5IIX Firmware Version 2.0
 
Enhancement of Production Workflows

New Native Camera to Cloud Integration with Adobe’s Frame.io 
Compatibility with Frame.io Camera to Cloud is now supported, enabling images and videos to be automatically uploaded, backed up, shared, and worked on jointly via the cloud. Recorded content is sent to the Frame.io platform through an internet connection via Wi-Fi or USB tethering, enabling seamless sharing of captured photos (JPEG/RAW) and Proxy videos. This empowers creators to receive remote real-time feedback during capture and enables collaborative editing among production teams using their preferred creative software. Frame.io Camera to Cloud streamlines the workflow from shooting to editing, enhancing overall efficiency in the creative process.

Proxy Video Recording 
This new feature records a low bit-rate proxy file when recording video. Simultaneously recording a proxy file that is linked with the original video recording enabling a faster delivery from production to post.
  Improved Basic Performance

Real-time Auto-focus Recognition (Animal Eye, Car, Motorcycle Recognition) The improved real-time auto-focus system enhances the highly accurate Phase Hybrid auto focus of the S5II and S5IIX, efficiently recognizing people among multiple subjects. It also features an animal eye recognition function, to focus on and follow animal eyes, as well as a car and motorcycle recognition function, which is ideally suited for shooting motorsports.

Enhanced E.I.S. Performance
In addition to Standard, High mode is newly added to E-Stabilization (Video) function, which electronically corrects large shakes when shooting on the move. A perspective distortion correction has also been added to correct distortion that tends to occur during video shooting when using a wide-angle lens. Combined with Active I.S. Technology, it is now possible to achieve even more stable footage when shooting on the move.
 
Expanding Creative Options

SH Pre-burst Shooting
The newly introduced SH pre-burst shooting function records bursts before shooting begins. When set to the SH PRE mode, the camera begins burst shooting from the moment the user half presses the shutter button, allowing retroactive burst shooting up to the moment the shutter button is pressed down fully.  
Hereafter a couple of reviews:
 
 
 
 
Davide DB

Using the EMWL Lens on a Blackwater Dive

Disclaimer:
 
Thanks to Pietro Cremone, the Italian distributor of Nauticam, I had the opportunity to try out this interesting lens on a recent trip to Anilao for blackwater dives.
 
Blackwater diving is a form of night diving that involves exploring open waters off oceanic coasts. Unlike traditional night dives, which take place near the shore or in shallow waters, blackwater dives occur in deep waters, typically offshore over deep ocean floors. During these dives, divers immerse themselves in dark waters, often with depths exceeding 100 meters. A bright buoy connected to a variable-length line (20-30 meters) is placed in the water, to which very powerful torches will be attached.
 
The lights are used to attract plankton and marine creatures to the surface, offering divers the opportunity to observe these unique creatures up close and appreciate their beauty in a completely different environment. Additionally, the lights serve as an optical reference for divers as they drift with the currents alongside the buoy and line.
 
Blackwater diving can be an extraordinarily fascinating experience, but it requires adequate preparation and some experience with night diving. Divers must have excellent buoyancy control and perfect self-management skills, including with their photographic equipment.
 
In recent years, these dives have become very popular, especially among underwater photographers, who can capture stunning images of animals that normally inhabit oceanic depths and, thanks to currents and the upwelling phenomenon, ascend towards the surface. Among these creatures, one can find zooplankton, larval stages of many fish species, mollusks, shrimp, etc., and even rare encounters with Paper Nautilus or the Blanket Octopus.
Locations for this type of diving are scattered around the world, and the most famous ones with dive centers with greater experience can be found in: Anilao in the Philippines, Hawaii in the USA, Palm Beach in the USA, Lembeh in Indonesia, and Cozumel in Mexico.
 
For photographic equipment, it is recommended to use a macro lens with a 1:1 ratio and a good field of view (ideally 50 or 60 mm equivalent full frame), with good AF speed, two strobes, and a focus torch positioned on the housing to assist the AF system of the camera body, and a narrow-beam torch for searching subjects, which can also be positioned on the housing or held by hand.
For photographers using Nikon or Olympus, they are fortunate to have two excellent lenses available: the Nikon AF-S 60mm f/2.8 G ED Micro and the Olympus M.Zuiko Digital ED 30mm f/3.5 Macro, which are perfect for Blackwater photography.
However, for Canon and Sony photographers, it is unfortunately more complex because the available optics have very slow AF (Sigma 70mm f/2.8 DG Macro Art and Sony FE 50mm f/2.8 Macro), and in Blackwater, it can be frustrating to try to focus as we really have to seize the moment: subjects are free in the water and besides drifting, they move constantly, making it much more difficult to capture correctly.
Using more performing lenses like Sony FE 90mm f/2.8 Macro or Canon 100mm f/2.8 L Macro unfortunately becomes more complex, even though they have a good AF speed, due to the narrow field of view.
 
An interesting solution to solve this problem is provided by Nauticam. In recent years, Nauticam has been investing heavily in "wet" optics, such as the WWL and WACP-C series, to name a few. In 2020, Nauticam launched a new system of wet optics on the international market, the EMWL series (Extended Macro Wide Lens).
The EMWL is designed to work with various macro lenses and is optimized for both photos and videos. It is a "wet" mount design so that the lens can be attached and removed underwater. This increases the versatility of the entire system. EMWL is a modular system composed of three main parts: the focusing unit, the relay module, and the lens. Plus, an accessory for quick mounting. On the Nauticam website, you can find a detailed description of its features and the modules that compose it. 
 
Being a Canon user, I have strong limitations on the lenses to use in BW, and I thought this lens could help solve them.
The setup I used is as follows: Canon R7, Canon EF-S 60 macro, Nauticam NA-R7 housing, N100 flat port 74, Reverse Angled Viewfinder 32º, EMWL Focusing Unit #1, and 60° objective lenses.
 
Pre-Dive Considerations
 
It is important to note that the EMWL is a lens designed for underwater use and must be immersed in water to function properly. When testing the flash before the dive, it is necessary to get very close to the object, about 1 cm, to make the camera's autofocus work. If you photograph in the air, the autofocus will not focus on anything; immersion of the lens in water is essential. However, at a distance of 1 cm from the lens, autofocus works and allows testing the flash dry.
 
The EMWL is composed of heavy optics. On the Nauticam website, you will find tables for each part of the EMWL. In my specific configuration, the Focusing Unit weighs 728g, the Objective Lens 60° 378g, the Reverse Viewfinder 700g, and the M77 to BM II 122g, for a total of 1,928 grams to add to the normal configuration without a 45° Viewfinder. In my case, I use the normal 45° Viewfinder and should subtract the weight of mine, which is about 480g. So, compared to my base configuration, I add a weight, out of the water, of 1448g. I emphasize this point because on my first dive, I didn't worry at all about the additional weight, but using the camera with this extra weight was a bit more complicated in normal BW use. I recommend neutralizing this additional weight as much as possible with floats or floating arms.
 
In-Water Use
 
With a 60° field of view, framing subjects becomes significantly easier, which is definitely the strong point of this system. This allowed me to quickly and better frame the subject through the Viewfinder. Locating and focusing on the subject was significantly simpler with this lens, allowing me to track it and get as close as possible.
 
The autofocus was not affected by the additional lenses of the Nauticam EMWL system. The focusing systems, single-point AF or AF tracking, worked perfectly. I did not notice any differences compared to normal use. I only experienced a worsening when using the red color of the focus lights. With subjects more sensitive to white light, such as Squid or Paper Nautilus, I usually use only the red color of the focus lights. However, with the EMWL, changing the color of just one focus light from red to blue or white, the autofocus work perfectly again.
 
The Objective Lens 60° has the ability to adjust the minimum focusing distance in 3 modes; surely the 55mm-infinity adjustment is preferable for blackwater photography. Searching for the minimum focusing distance, especially for smaller subjects, framing becomes more complicated, but I noticed a greater magnification of the subject. Comparing notes with Pietro, he confirmed that the 60° lens can achieve a magnification of 4x at the CFD, and this is another advantage of this system. Obviously, for smaller subjects, it is always more difficult to get a good shot, but with this lens, we could photograph other subjects that we normally give up on because they are too complex or have obtained poor results due to the 1:1 ratio of the lenses used up to now.
 
Another impression I had is that the lens provides a greater depth of field. Reviewing the shots taken of a male Paper Nautilus attached to a tunicate, I noticed that a good part of the tunicate and the Paper Nautilus were well in focus. However, I did not have many similar shots during this test session.
The only "negative" feedback I can provide from my experience using it in blackwater is that occasionally, on slightly overexposed shots and with highly reflective subjects, the lens produces a white halo around the subject. In the shots taken, the number of files with this issue was negligible, but I felt it was important to mention it.
 
Final Thoughts
 
I was thrilled to use this system, and I would like to thank once again the Italian distributor of Nauticam (Fotosub-shop.it - Pietro Cremone) for giving me the opportunity to test it in black water. Certainly, this system requires various trials in the water by the user, but once the right balance is found, it can provide incredible images of both typical subjects in blackwater and smaller subjects. The cost of the complete configuration may not be within everyone's reach, but as we know, our hobby is expensive, and we do enjoy expensive toys. If you have the opportunity to purchase it, you could overcome the limitations we have with the lenses used in blackwater. If I have the chance to try it again, I would like to use the 100° lens for larger subjects, such as a Blanket Octopus (if they are easy to find), a beautiful female Paper Nautilus, or a large jellyfish; it could be very interesting, considering also that changing lenses can be done underwater, being very careful not to let it slip, though... I will keep you updated.
 
 
Hydrozoan Jellyfish - 1/320 F14 ISO 320
 
 
Tube anemone larva - 1/320 F14 ISO 320
 
 
Flounder larva - 1/250 F16 ISO 320
 
Mantis shrimp larva - 1/250 F16 ISO 320
 
Crab larva - 1/250 F16 ISO 320
 
Unidentified - 1/250 F16 ISO 320
 
Juvenile benthic octopod on a salp - 1/250 F20 ISO 320
 
Juvenile benthic octopod on salp - 1/250 F22 ISO 320
 
Seahorse, Hippocampus sp. - 1/250 F18 ISO 320
 
Dotterel Filefish - 1/250 F20 ISO 320 
 
Veliger larva - 1/250 F16 ISO 320
 
Shrimp larva - 1/250 F16 ISO 320
 
Mantis shrimp Larva - 1/250 F18 ISO 320
 
Fish larva - 1/250 F16 ISO 320
 
 
Giancarlo M.

Sony firmware updates: a1, a9III, a7SIII and a7IV

Sony have announced major firmware upgrades for the a1, a9III, a7SIII and a7IV
 
According to the Sony press release, firmware v2.00 for the Sony a1 is perhaps the most extensive. 
 
The Sony a7SIII and a7IV are upgraded to v3.00.
 
The Sony a9III will be upgraded to v2.00 which is expected to be available from 9 April. However if you live in the USA, availability is from April 9.
TimG

Nikon firmware update: Nikon Z6ii and Z7ii

Nikon have announced firmware updates to their Z6ii and Z7ii cameras
 
According to the Nikon update page:
 
Changes from “C” Firmware Version 1.61 to 1.62  
Changed the default values for the following settings displayed when connecting wirelessly: - Encryption keys - The password displayed after the camera's default settings are restored • Fixed the following issues: - In some cases, tapping the monitor would not move the focus point to the selected position. - In some cases, the camera would take time between shots if Camera Control Pro 2 was used to take photos.  
TimG

Nikon Z9: Firmware update 5.0

Nikon have just announced another firmware update for their flagship Z9 camera.
 
Although on the face of it, not especially helpful for u/w photographers, for sports and studio people, lots of interesting additions.
 
A full list is here:
https://downloadcenter.nikonimglib.com/en/download/fw/516.html
 
Nikon's press release explains:
 
(Full details here: https://www.nikon.com/company/news/2024/0313_firmware_01.html)
 
TOKYO - Nikon Corporation (Nikon) is pleased to announce the release of firmware version 5.00 for its flagship full-frame/FX-format mirrorless camera, the Nikon Z 9.
Firmware version 5.00, the fourth major update since the release of the Z 9, increases usability for sports photography by expanding the Auto Capture and High-Speed Frame Capture+ functions. Portrait photography is also enhanced for more effective capture of the images photographers want, with the new Skin Softening and Portrait Impression Balance functions, and new Rich Tone Portrait Picture Control that enables rendering of details of the subject's complexion with rich tones. Furthermore, the evolution of the Z 9 continues with improved operability achieved in response to feedback from professionals requesting increased speed and efficiency.
Nikon will continuously meet users' needs through firmware updates that expand the functionality of its cameras
TimG

Nikon buys Red

Nikon is aiming to broaden its presence in the cinematography industry.
The company has disclosed its agreement to acquire Red, a cinematography camera manufacturer, which will operate as a fully-owned subsidiary of Nikon. Details regarding the terms and value of the acquisition were not revealed.
 
In its announcement, Nikon expressed its intention to utilize this acquisition to expand its footprint in the rapidly growing professional digital cinema camera market. By leveraging the strengths and networks of both companies, Nikon anticipates an innovative future in product development that will push the boundaries of film and video production. Nikon's proficiency in product development, reliability, image processing, optical technology, and user interface, combined with Red's expertise in cinema cameras, including unique image compression technology and color science, is expected to drive the creation of distinctive products.
 
Here the full press release:
 
https://www.nikon.com/company/news/2024/0307_01.html
 
Davide DB

Another Live aboard fire - Raja Ampat

Reports have come in of another live aboard fire in Indonesia, this one in Raja Ampat, details are scant, however it was posted that every one got off the boat.  Only seems to have made Indonesian new channels so far, there is a link to a news page in Indonesian.
 
https://scubaboard.com/community/threads/raja-ampat-boat-fire-dive-boat.643793/
 
https://papua.jpnn.com/papua-terkini/2670/kapal-pesiar-terbakar-di-perairan-raja-ampat-bagaimana-kondisi-23-wisatawan
Chris Ross

The Sea&Sea Correction Lens - coming back?

Edge sharpness with wide-angle lenses underwater  can be an issue especially for users of full-frame sensor camera bodies.
 
One solution to increasing edge sharpness, which has worked for some photographers, has been the Sea&Sea correction lens which came in 77mm and 82mm diameter options. But this lens disappeared from sale a little while ago.
 
Waterpixels member @Ido has been in contact with Sea&Sea and has been told that the company plan to make the lens available again later in the year.
 
So if you have been hunting around for the Sea&Sea correction lens and have given up hope, all is not lost...... hopefully!
 
 
TimG

The other face of underwater photography: ethical dilemmas

Hi Everyone,
I would like to share with everyone this article that i have published on my site. In a time where we are constantly pushed by social media to publish images faster and faster i am noticing around me more and more malpractices on land and of course also underwater.
This is an article initially in french translated by myself in English do forgive me if there any errors.
 
https://scuba-people.com/en/banner/the-other-face-of-underwater-photography-ethical-dilemmas
 
Thanks for reading
christophe chellapermal

Updates to Adobe Lightroom

Updates announced by Adobe for Lightroom
Lightroom Classic 13.2, Lightroom 7.2 and Mobile 9.2 released
These releases are primarily for new cameras and lens support, and a number of bugs are fixed in these releases.

Lightroom Classic
There are some additional features in Classic 13.2. These include:
- Additional Sort Order options
- Additional Filter and Smart Collection options
- Some performance enhancements

We would recommend it's safe to update to these versions immediately.
As mentioned, there are quite a number of bug fixes. To check them and to see additional details on the Classic changes and the new camera/lens support, read our blog What's New in Lightroom Classic 13.2 & Lightroom Ecosystem (February 2024)?
TimG

Adobe Lightroom Classic Update v13.1

A new update to Lightroom Classic appeared today (14 Dec). This is v13.1 and follows on from 13.0.01 and 13.0.2 which were released some weeks ago.
Although the download was very slow (an Adobe banner acknowledged this and said it was being fixed), the update seems to work without a problem.
Adobe report that the update fixes bugs and provides support to new cameras. No new features apparently.
TimG

SUPE D-PRO Strobe test

Underwater photography is an incredible experience because it offers enthusiasts the opportunity to discover the underwater world in its most authentic beauty. To capture these extraordinary images it is essential to have the right equipment, and one of the key elements in underwater photography is the strobe.
 
SUPE Scubalamp is a company specialising in the design and production of underwater lighting equipment, including torches, strobes and related accessories. The company, a world market leader for many years, recently launched the new SUPE Scubalamp D-Pro underwater strobe, successor to the glorious D-Max. This product caught the attention of the underwater community due to its exceptional quality, light uniformity and battery life, and these features immediately placed it among the best in the industry. Another distinguishing feature is the high-speed continuous shooting mode, with the strobe supporting 10 frames per second in the first mode, making it much easier to capture shots in quick succession.
 

The D-Pro, with its 4800 degree Kelvin circular lamp with a 160W power output and 150 degree beam angle, ensures an even spread of light over the entire framed area. This means that captured subjects and scenes will appear in natural, vivid colours - in short, your shots will be outstanding.

A crucial feature for underwater strobes is battery life. While in the deep sea it is complicated to change batteries easily, so to avoid any kind of problem it is always preferable to do the replacement only at the end of the dives. SUPE Scubalamp D-Pro also excels in this respect, thanks to its 37.8 Wh rechargeable lithium battery (3x 18650), which guarantees from 500 strobes at full power up to 3000 strobes in the first mode. The large battery capacity supports long underwater photo sessions, allowing every moment to be captured without interruption. The strobes also feature a display that shows the battery charge status, allowing you to keep track of the remaining battery life at all times.

I have been fascinated by these strobes since their launch and, after hearing feedback from other underwater photographers, I finally had the opportunity to test them first-hand during my recent three-week trip to the breathtaking tropical waters of Raja Ampat, Indonesia.
 
The setup I used for the test consisted of: Canon EOS R5, Canon EF 8-15mm f/4L Fisheye, Nauticam NA-R5 housing, Nauticam 140mm Dome, Nauticam Trigger and Flex-Arm carbon arms.
 

 
During the first dives I studied the light behaviour of the strobe in order to position it in the best possible way. The circular lamp guarantees excellent uniformity in light distribution and the D-Pro, with its coverage angle of about 150°, provides a considerable amount of light perfectly distributed over the entire frame of the shot. Power adjustment is easy thanks to the power selector. To balance the weight I added a pair of floats, as the strobes tended to be slightly negative.
 
Looking at the shots underwater, previewed on the camera, I was impressed and couldn't wait to review them on my computer once back on land. Upon review I was even more surprised by the quality, quantity and uniformity of the light, everything was simply amazing.
 
While diving, I tried to 'exploit' the strobes to the best of my ability in a variety of situations, and they never let me down; on the contrary, they always provided the best of their light. I was particularly satisfied with the battery life. I always recharged the batteries after 6 dives, with an average of about 100-130 shots per dive, the display allowed me to accurately monitor the remaining charge, eliminating uncertainty about whether I could continue shooting. Recharging the batteries was simple, just remove them from the compartment and plug them into the supplied transformer, waiting for the LED to turn green to indicate a full charge. I'm not sure of the exact hours needed, I always did this before going to sleep, in the morning the batteries were ready, fully charged.
 
As an optional extra Supe supplies a diffuser (D200-Diffuser) for wide angles. It is a hotly debated topic among underwater photographers whether they should be used or not. Not being able to provide scientific measurements with appropriate instruments, I can only give you my personal feelings.
 
I felt good in both cases, with and without, the difference I noticed was only in the type of scene shot. I shot very often without a diffuser, because I had the feeling that the strobe had more penetration and the light was more incident on subjects with a greater distance to the lens. On the other hand, with very close-up shots, I found the shots with the use of the diffuser with a softer and more even light more pleasing.
 
After three weeks of diving I did not experience any problems with their operation, the strobes were always ready to fire. The size and weight did not have a major impact during the dives, I appreciated their ease of use. I personally think that the SUPE Scubalamp D-Pro is currently one of the best underwater strobes available on the market in terms of value for money. However, it is important to emphasise that I have not been able to assess its reliability in the long term; my testing period was, in fact, limited. However, I am also confident in terms of reliability because the quality I found during use was evident.
 
 I would like to thank my friend Scipione, who allowed me to test these strobes, and Raymon Bao, owner of SUPE Scubalamp, who was always available to answer my requests for further details about the product.
 
F8 - 1/125 - ISO 100
 
F11 - 1/160 - ISO 320
 
F13 - 1/160 - ISO 250
F10 - 1/125 - ISO 250
 
F8 - 1/160 - ISO 250
 
F11 - 1/125 - ISO 250
F10 - 1/125 - ISO 200

F8 - 1/125 - ISO 160
 
F9 - 1/125 - ISO 200
 
 
Giancarlo M.

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